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In The Jazz Piano Book (1989), Mark Levine gives an example of a three-part melody arrangement: https://ibb.co/PQQhySv
This texture sounds more interesting than combining the usual LH closed chords with a melody, but it also gets boring when repeated.
However, even before the book was published, there were such phenomena as special guitar strumming techniques such as in guitarists Stanley Jordan or Tuck Andress from Tuck & Patti, which found expression in Keith Jarrett's revolutionary intro to All The Things You Are (1982) :
https://www.youtube.com/watch?v=ksV1XMprOy4
The three-voice texture has a specific property: each voice carries a third of the overall sound; which allows you to manipulate them and greatly diversify the sound.
Different combinations of voices have different sounds: the constant simultaneous attack of three voices on the first beat has the strongest accent; and long static sounds create the effect of hitting a bell with a hammer, which is not very desirable , for example in ballads. In addition, bass always starts from the root, and always from the first or also from the third beat.
Mark Levine shows a scheme that can be varied ;in bass, use the root and 5th first, but you can use also other chord notes.
https://ibb.co/g64xhZS
https://yadi.sk/d/rf-xfMXIEdtYoA

The second version is modeled on K. Jarrett.

Hi Nahum

That's another amazing Jarrett performance I'd not heard before.
And unlike the Charles Lloyd solo you posted, this performance did amaze me NOW!

Cheers

That's a good lesson Nahum. Rolling out the voicings in various rhythms as integrated accompaniment. Hiromi demonstrated to me one time how she strums or rolls out her syncopated left hand Bud Powell shells when playing solo piano. I transcribed her examples of how she demonstrated her easiest embellishments to most her more complex busy left hand patterns (basically 4 levels of variation towards complexity). It's like having a band all in your left hand: bass, rhythm, and chord. One can almost think of it as independant 4 parts: outer pinkies and inner thumbs, all playing there own parts (nest add the index fingers and all the right hand fingers) . It's easy once one gets in the habit of varying the density and weaving the rhythms.

The Hiromi left hand warm up is something she practiced in her left hand when she was younger under her Hanon drills which she would swing. It's part of my warm up too, but instead of Hanon drills, I play my syncopated strumming left hand Bud Powell shells while my right hand plays the Barry Harris "5432 phrases" and I also their derivatives: the 876b6 phrases. It's harder than it looks.

The technique of combining several parts in the left hand was created by F. Chopin, and improved by L. Godowsky:

I will not allow myself to think that Hiromi isn't familiar with these etudes .

Charlie Banacos used to call the LH strumming thing a "windshield wiper". He said to picture the wipers on a bus and you could strum the chords like that, slow, fast, inside out, outside in, etc.

Love me some Charlie!

Something like this, Dave?


https://yadi.sk/d/S24HIAiiKJKemA

Happy Sukkot!

no, a quick bottom-top strum (fast arpeggio) of the chord, leaving the strummed notes held down after you play them..

DF

Hiromi's left hand broken shells with pickups is for straight ahead heavy swing playing. Not like arpeggios, it's syncopated with lots of rests injected. The examples go in variation form sparse to busy, each new density level is logically extrapolated. The Garner chunking even shows up for a little bit along the way. It's not the windshield wiper or anything like Chopin arps. It's as if Bud Powell's left hand had a drummer in it, constantly playing hits of syncopated "broken" shells with pickups. I really should share it with you sometime.

Thank RinTin, I've always tried to transcribe independently.